There is something to be said for a musician who has a show booked at a different, much bigger venue just two months later. Aided by Pitchfork’s glowing review of Two Suns, Natasha Khan’s Bat For Lashes seems destined for the big time. For those of us who caught the rising star at Portland’s uber-hip Doug Fir Lounge, we were given an intimate, spirited performance in the type of club Khan is unlikely to play again. Besides, Thom Yorke did say Bat For Lashes is the best band ever to open for Radiohead.
Candles and dolls sat amongst the instruments and amplifiers. Silvery tinsel provided a backdrop to the stage as garland curled around the microphone stand like a hoary snake. For someone often compared to Bjork, I wonder if Khan would also employ a showmanship akin to her Icelandic progenitor.
Khan took the stage wearing black jeans and a thin, white shirt that revealed a black bra underneath. A frilly lace collar surrounded her neck giving her the look of delicate doll. With no introduction, the band kicked off the show with “Glass” and “Sleep Alone,” the two opening tracks from Two Suns. Khan’s voice sounded so crystalline, so perfect it seemed to have been lifted right from the album itself. Among the pounding tribal drums, she hit the high notes with ease, the power of her voice commanding full attention from the sold-out audience.
Khan leaned heavy on Two Suns for the most of the set, saying very little between songs. She alternated between singing without an instrument, guitar and playing a synthesizer. Highlights included “Horse and I,” “Travelling Woman” and the heavy bass of “Sarah.”
Unfortunately, some of the crowd did not respect the intimate nature of the performance and began to talk and shout during some of the quieter moments. Others yelled for them to “shut up.” This war of shouting shattered the connection between Khan and audience. The audience finally shut up near the end of the set when Khan played her hit, “What’s A Girl To Do?” Between heavy drumming that sounded lifted from a Ronettes track and eerie, ominous synths, this song sounded just like it did on the album. And that’s okay with me!
Khan returned for an encore with a more or less solo version of “Prescilla.” Of course, some annoying woman called out for “Daniel” during the performance, but Khan did not allow the shouting to throw off the song. The band then returned for the trio of “Good Love,” “Moon and Moon” and “Two Planets.”
Would it have been more of a surprise if the band hadn’t returned to play “Daniel,” Khan’s paean to the Ralph Macchio’s beloved character? With the amount of shouting, I would have stayed backstage. But Khan returned, played the song, thanked the audience and left. At least next time she’s in town, the bigger venue may swallow up the voices of these shouting out for more.
by David Harris
[Photos: Oliver Peel@ Konzerttagebuch.de]
